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than the
the elaborated dominant of ↓_D_↓.  The repeat becomes important here too.
After once having heard the A7 chord at measure 16 proceed to the ↓_D_↓
chord when the first section of the Trio is repeated, the subsequent
movement to the B7 chord sounds like a sudden digression to the ii (↓_e_↓)
area.  This situation is only slightly different from that found at the
first double bar in the Menuetto.  There, the independence of the
material in the dominant key, and especially the absence of a 7th chord
just before the repeat, are the factors which put this music on the 
other side of the admittedly academic dividing line.

.CENTER		        
_______________

.FILL INDENT 6
	The next movement to be considered, the %2Rondeau en Polonaise%1
from Mozart's %2Sonata in D%1, K.205b(284), contains a simple modulation
and some firmly established control tonics.  In the following analysis
some sections are condensed to save space.
.BEGIN VERBATIM

Figure 80a.  Mozart, Sonata in D, K.205b(284), 
                                     Rondeau en Polonaise

.END
.CENTER
%6⊂⊗⊃L[α%0.03,α%-3.20]:N80FA.PLT[HHA,LCS]⊂⊗⊃%1